hahid Siddiqui’s Asman Dar Asman is a compelling exploration of the lives of artists who were born or raised in regions that later became part of Pakistan but migrated to India following the Partition of 1947. The book examines how this historical rupture shaped their artistic expression, careers and personal identities. Siddiqui’s interdisciplinary approach blends history, biography and cultural analysis, offering a deeply reflective narrative on migration, memory and artistic creativity. The book provides a rare consolidated account of individuals who left their homes behind yet carried their past with them, thus, influencing Indian cinema, literature, poetry, music and visual arts.

Siddiqui brings a rich academic background to this work, enhancing its depth and credibility. He holds a PhD in linguistics from the University of Toronto and has held academic positions at prestigious institutions such as Aga Khan University, the Ghulam Ishaq Khan Institute, the Lahore University of Management Sciences, the National University of Modern Languages and Allama Iqbal Open University. Currently, he is the dean of the Faculty of Social Sciences, Media Studies, Art and Design at the Lahore School of Economics. His extensive academic experience, particularly in language, literature and cultural studies, informs his nuanced exploration of the Partition’s impact on artistic expression. This interdisciplinary perspective allows him to weave together historical, biographical and literary narratives in a way that is both scholarly and accessible. His deep engagement with linguistics and literature is evident in the book’s meticulous attention to the role of language, memory and cultural identity in shaping the artistic trajectories of the individuals he chronicles.

The book has seven parts:

The Enchantment of Film and Acting– exploring the artistry of Dil Sukh Pancholi, Prithviraj Kapoor, Balraj Sahni, Shyam, Pran, Dilip Kumar, Dev Anand, Raj Kapoor, Raaj Kumar, Kamini Kaushal, Prem Chopra, Manoj Kumar, Vinod Khanna and Kabir Bedi;

II) The Magic of Prose – showcasing the literary brilliance of Diwan Singh Maftoon, Kanwar Mahendra Singh Bedi Sahar, Kanhaiya Lal Kapoor, Krishan Chander, Bhisham Sahni, Rajinder Singh Bedi, Khushwant Singh, Balwant Singh, Devendra Isar and Surendra Prakash;

III) The Garden of Poetry – celebrating the poetic contributions of Talok Chand Mehroom, Mohan Singh, Mira Ji, Raja Mehdi Ali Khan, Jagan Nath Azad, Amrita Pritam and Shiv Kumar Batalvi;

IV) The Radiance of Lyricism – featuring the lyrical mastery of Sahir Ludhianvi, Shailendra, Anand Bakhshi, and Gulzar;

V) The Flowing River of Seven Notes – honouring the musical genius of Ustad Baray Ghulam Ali Khan, Roshan, Madan Mohan, and OP Nayyar;

VI) The Magic of Voice– narrating the legacies of Shamshad Begum, CH Atma, Mohammad Rafi, Surinder Kaur and Suraiya and

VII) The Enchantment of Colours and Forms – highlighting the artistic vision of Ganga Ram and Satish Gujral.

Each part of the book focuses on a specific artistic domain: film and acting, prose, poetry, writing of lyrics, music, singing and visual arts. By retaining the pre-Partition names of cities—such as Lyallpur (now Faisalabad) and Montgomery (now Sahiwal)—Siddiqui preserves historical authenticity, allowing his readers to visualise the socio-cultural landscapes these artists left behind. This emphasis on geographical and historical specificity strengthens the book’s engagement with memory and nostalgia, hence, reinforcing how physical displacement was accompanied by a deeper and existential sense of loss.

A key strength of the book lies in its exploration of how migration shaped these artists’ creative output. Many of them, despite achieving wealth and fame, continued to experience an emotional void, haunted as they were by the loss of their childhood homes and communities. This underlying nostalgia manifested in their work, whether through the melancholic poetry of Sahir Ludhianvi, the evocative lyrics of Anand Bakhshi, or the poignant performances of Balraj Sahni. Siddiqui skillfully illustrates how Partition was not just a political or territorial division but also a deeply personal rupture for such artists.

Each part of the book focuses on a specific artistic domain: film and acting, prose, poetry, lyrics, music and visual arts. By retaining the pre-Partition names of cities—such as Lyallpur (now Faisalabad) and Montgomery (now Sahiwal)—Siddiqui preserves historical authenticity, allowing readers to visualise the socio-cultural landscapes these artists left behind.

Another significant aspect of Asman Dar Asman is its ability to highlight the shared cultural heritage of India and Pakistan. By documenting the lives of artists who belonged to both nations in different phases of their lives, the book challenges the rigid national boundaries that emerged post-Partition. It implicitly argues that artistic traditions transcend political divisions, as evidenced by the enduring popularity of these people across borders. This perspective makes the book particularly relevant in contemporary discussions on cross-border cultural exchange and the enduring impact of historical migrations on artistic expression.

Beyond individual stories, Shahid Siddiqui has candidly contextualised the broader impact of Partition on artistic communities. The book subtly raises questions about how migration disrupts cultural continuity and reconfigures creative landscapes. For instance, while many artists found new opportunities in India, they also had to navigate unfamiliar cultural environments and rebuild their careers from scratch. Some, such as Dilip Kumar and Raj Kapoor, became icons of Indian cinema, yet their work often reflected the emotional turmoil of dislocation. Poets such as SahirLudhianvi and Gulzar infused their poetry and lyrics with themes of longing and estrangement, thus, capturing the unspoken pain of a generation uprooted by history.

One of the most striking aspects of the book is its attention to the psychological and emotional dimensions of migration. Siddiqui presents the biographies of these great artists not just as linear success stories but also as complex narratives of loss and adaptation. He delves into the personal struggles they faced, from the silent grief of leaving behind childhood homes to the constant negotiation between past and present in their artistic expression. In doing so, he underscores how the trauma of Partition continued to shape their identities long after they had achieved fame and success.

The writing style strikes a balance between academic rigor and literary engagement. Siddiqi employs a narrative approach that brings historical figures to life, making the book accessible to both scholars and general readers. His ability to weave historical context with deeply personal anecdotes allows the reader to connect with the experiences of these artists on an intimate level. This is particularly evident in his portrayal of people like Balraj Sahni, whose performances in films such as Kabuliwala and Garm Hava poignantly reflect the themes of migration and displacement that defined his own life.

The book is not merely a collection of biographies but also an insightful anthology of displacement and cultural memory. However, given the vast scope of the subject, the book does not claim to be exhaustive. Siddiqui acknowledges that many similar artists were not included in this volume and intends to continue this work in subsequent studies. Importantly, he plans to explore the parallel experiences of artists who migrated from India to Pakistan, thereby presenting a more comprehensive view of artistic displacement during and after the Partition.

Asman Dar Asman is an authentic contribution to the study of South Asian cultural history. It will be particularly valuable for scholars and enthusiasts of cinema, literature, poetry, music and migration studies. By humanising the grand historical narrative of the Partition through the personal stories of artists, Siddiqui succeeds in creating a work that is both academically significant and emotionally resonant. This book is a testament to the enduring impact of migration on artistic identity and the shared cultural legacy that continues to bind India and Pakistan despite political divides. It not only documents the past but also serves as a reminder of how history continues to shape contemporary cultural discourses. Through its meticulous research and evocative storytelling, Asman Dar Asman invites readers to reflect on the complex intersections of art, history, and memory in South Asia’s post-Partition landscape.

The reviewer teaches at the Lahore School of Economics. He can be reached at ejaz.bhatty@gmail.com